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Book 










THE 


HISTORY AND ANTIOUITIES 


OK THK 

COLLEGIATE CHURCH OF ALL SAINTS, 

MAIDSTONE, 

WITH THE ILLUSTRATIONS OF ITS ARCHITECTURE; 


TOGETHER WITH 


O B S E R V A 'r I O N S 


THE POLYCHROMATIC DECORATION OF THE MIDDLE AGES. 


By JOHN WHICHCORD, Jun., Architect. 


THIRTEEN ENGRAVINGS, SOME OF WHICH ARE ILLUMINATED FAC-SIMILES. 





LONDON; 

JOHN WEAL E. 


1845. 













lOm-i 
' DV 























THE 


HISTORY AND ANTIQUITIES 

OF TEIE 

COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 

By JOHN WHICHCORD, Jun., Architect, 

ASSOCIATE OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS. 


Like other towns of early importance, the name and antiquity of Maidstone have been 
a fruitful source of etymological speculation and learned fables. Many celebrated 
antiquarians, including the learned Camden, recognise in the situation of this place 
the “ Vagniacse ” mentioned by Antoninus in his Itinerary, and reckoned by Ninius 
in his catalogue, one of the principal cities of Britain. However this may be, Maid¬ 
stone is generally allowed to have been Roman, and from a remote period a town of 
some importance ; this is probable from its situation in the county, and the circum¬ 
stance of Roman remains being occasionally discovered in the vicinity. 

The name of the place is found variously wwitten, as Medweyston, Meddestane, 
and Maidstone, and on the authority of Lambard, who quotes the ancient Saxon 
book of the bridge work at Rochester, “ Meghanstone, or the mighty and strong- 
town and in the records of the justices itinerant of the time of Edward I., it is said 
to have been called Maydenstone, or the town of maidens, alluded to in the punning 
rhvme in the black book at the Tally Office. 

“ Petra puellarum pulcherrima villa mearuni.” 

The Latin name of the Medway, the river on wLich the town stands, is sup¬ 
posed to have been “ Vaga,” to which the Saxons are conjectured to have prefixed 
‘ Med,’ and called it ‘ Medweg,’ written by the old historians Medweig, Medwei, 
and Medweg, from its course through the centre of the county. Hence is derived the 
name of the town, “ Medway’s Town,” Meddestan or Maidstone, still pronounced 
Medstone in the vernacular of the district. 



HISTORY AND ANTIQUITIES OF THE 


2 

Maidstone is in the bailiwick of Eyehorne, Lathe of Aylesford, ivest division of 
the county, and division of the justices of the corporation of Maidstone ; the church 
isdn the diocese of Canterbury and deanery of Sutton, and is thus entered in the 
black book—“de Maidstone cum capellis de Loose et Detling.” 

Placed in the centre of a fertile valley, on the hanks of a navigable stream, 
and in easy communication with every part of the county, this town must early 
have risen into that consideration which, without recession, it has maintained by a 
course of quiet unventuring industry. Though a place of much resort, enriched by 
the passage of the Canterbury pilgrims, and a favoured residence of the archbishops, 
it can scarcely be said to have any history of its own, but, responsive only to 
influence from without, has served here and there to give a site to an historical event, 
and fill its unambitious part in social organization. 

Maidstone, how^ever, possesses several objects that arrest the attention of an 
antiquary; the due proportion of religious foundations that one expects in an ancient 
town flourished here; the liberality of the archbishops augmented and upheld its 
ecclesiastical establishments, and private wealth and station have left their record in 
such buildings as one would expect to proceed from the aristocracy of a country town, 
too great to be adorned by the hand of baronial and feudal power, and not great 
enough to leave any remarkable memorials of itself to posterity. Leland gives the 
following description of it, as it was in the reign of Henry VIIL, about 1.538. 
“ Ther is in the town a fair colledge of prestos. The castel ^ standeth about the 
myddes of the town, being well maynteyned by the Archbishop of Canterbury. 
Ther is the common gayle or prison of Kent, as in the shyre town it is a market 
town of one long street, and full of ynnes.” 

As it is chiefly to the munificence of the archbishops that Maidstone is indebted 
for its architectural embellishments, a brief sketch of their connexion with the town 
may with propriety he introduced here. 

At a very early period, even as far back as Edward the Confessorthe manor of 
Maidstone was owned to be the property of the Archbishop of Canterbury, probably 
by the gift of one of our Saxon princes j it is thus entered in Doomsday Book ; 
“ Meidestane est proprium manerium archiepiscopi et in T. E. R. se defendehat pro 
X full.’ Et ex iis tenet Radulphus unum full,’ quod est appreciatum . 505 . Et Willi- 
elmus frater Episcopi Gundulphi full.’ Et sunt appretiat £10. Et ansetillus de 
Ross unum full.’ quod est appretiatum 605. Et duo homines hahcnt hide 1 full.’ 


^ This castel or palace would, at that time, be about the middle of the town. 
^ Newton. 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


3 


qui reddunt altari Sanctie Trinitatis 16^. et tameii valet illud full.’ 20«. Hoc 
manerium habet hundret in seipso.” 

This manor, however, must subsequently have been alienated, for we are told 
that William de Cornhill gave it, together with the castle, to Stephen Langton, 
Archbishop of Canterbury, in the seventh year of King John, or about a.d. 1207. 

This house or castle appears to have been situated on the south side of the 
church and to have been the building which Courtney partly pulled down and ex¬ 
tended Avhen he founded his college here ; some remains of about the above date 
were discovered larely in repairing the present building, which may have been con¬ 
tinued to have been occupied by the archbishops until the middle of the fourteenth 
century: traces of extensive alterations about the beginning of that century are still 
discern able. 

John Ufford, Archbishop of Canterbury, began to build the manor house or 
palace at IVIaidstone, a.d. ISJS, but dying in the following year, and before he 
could bring his work to perfection, his administrator was sued by Archbishop 
Simon Islip for dilapidation, who recovered upwards of £1100 \ 

Islip proceeded vigorously with the work, and not only pulled down a house 
belonging to the archbishops at AVrotham, for the sake of the materials, which he 
brought to Maidstone, but obtained the Pope’s license to charge his whole province 
with a tax of 4f/. in the mark, under colour of which his officers demanded and col¬ 
lected (at least in his own parish) a whole tenth towards the building of this house 
and other like purposes 

Cardinal Morton, who was promoted to this archbishopric in 1486, was a liberal 
benefactor to the see, in repairing and augmenting his houses at Knoll, Aldington 
Park, Charing, Ford, Lambeth, and Canterbury, and particularly this palace of 
JMaidstone, which had become much decayed and dilapidated. 

Both the manor and palace continued the property of the Archbishops, until Cran- 
mer, by command of King Henry VIII., in the 29th year of his reign, granted 
“ among other premises, to that King, all this manor or lordship, with its appurte¬ 
nances, the advowson and patronage of the college and church of our Lady at Mayde- 
stone, and the advowson, donation, &c., of the Chantry, founded in Maydestone by 
Archbishop Arundel, and his prison house in Maydestone, together with all liberties, 
&c., and all other estates whatsoever, belonging to him in this parish, except all advow- 
sons and presentations, &c., not particularly mentioned and excepted,” in exchange 
for other revenues ; Henry soon after granted them to Sir Henry Wyatt, of Allington 

^ Lambavcl, Kilburn. Hasted. 

Newton, quoting Vitje Archiep. Cantuar. ^ Hasted. 

B 2 


4 


HISTORY AND ANTIQUITIES OF THE 


Castle and the mote in this parish, one of his privy council, from whom they descended 
to his grandson Sir Thomas Wyatt; who being concerned in the rebellion on the 
marriage of Queen Mary, was taken prisoner and executed ; and being attainted, all 
this manor, with the palace, rectory, and other premises, and the ancient seat of the 
mote, were confiscated to the crown. 

The palace and other premises in this town were granted by Queen Elizabeth 
to Sir John Astley, (son of John Astley, Esq., master of the Queen’s jewels,) to whom 
a monument is erected against the east wall of the chancel in Maidstone church. From 
him it passed, among other estates, to his kinsman, Sir Jacob Astley, created by Charles 
the First, Baron of Reading, in the 20th year of his reign. The palace continued in 
various branches of this family, until Sir Jacob Astley, of Melton Constable, in Nor¬ 
folk, alienated it, with other estates in this neighbourhood, to Sir Robert Marsham, 
First Lord Romney, of the Mote, whose descendant, the Right Hon. Charles, Earl of 
Romney, is the present possessor of them. 

The manor seems to have continued in the hands of the crown until Charles 
the First, in his fourth year, granted it in fee to the trustees of the Lady Eliza¬ 
beth Finch, Viscountess Maidstone and Countess of Winchelsea, from whom it 
passed to her direct descendant Heneage, fourth Earl of Winchelsea, who in 1720 
sold it to Lord Romney. 

The buildings of the palace, erected with rag stone, exhibit in the date of their 
various additions the changes through which they have passed. Some portions of 
Ufford or Islip’s work are still remaining; but the bulk of the present building may be 
attributed to Cardinal Morton, or to Sir Thomas Wyatt, who became possessed of it 
in the succeeding reign. Sir Jacob Astley, on receiving them from Queen Elizabeth, 
seems to have made extensive alterations, and the whole has undergone much modifi¬ 
cation in modern times. 

Remains are yet traceable of all the religious houses of which we have any account 
in this town. The most ancient of these foundations was the Hospital for Pilgrims or 
Travellers, dedicated to St. Peter, St. Paul, and St. Tbomas a Beckett, situated in 
that part of the town known as the West Borough, on the opposite side of the river 
Medway to the site of the church, palace, and collegiate buildings, and somewhat 
lower down the stream ; it was established about the middle of the 13th century, by 
Boniface, Archbishop of Canterbury, son of Peter, Earl of Savoy and uncle to Queen 
Eleanor, wife of Heniy HI. Walter Reynolds, who was translated from the see of 
Worcester to this bishopric, was a great benefactor to Boniface’s foundation, and ap¬ 
propriated to this hospital the two parsonages of Farleigh and Sutton in this county. 
The revenues of this hospital were transferred by Archbishop Courtney to his new 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


5 


college, and were separately valued from those of the college at the suppression, at 
£159 7s. lOd. 

The existing remains of this building (now confined to the chapel) correspond in 
date to the time of its foundation, and present some interesting features; the whole 
has lately been restored and considerably extended, and is now consecrated as a dis¬ 
trict church. Mention is made by Newton of “ a hollow place just by, arched and 
vaulted with stone, which seems to go a great way under ground,” as existing in his 
time, 1740 ; this was discovered and laid open a few years ago, in the adjoining pro¬ 
perty known by the name Newark. 

There was also a house of the brothers of Corpus Christ! established here, who 
were to pray for the fraternity of the Gild, and celebrate masses for the repose of their 
souls when dead ; there is no record of any founder, although the fraternity were pos¬ 
sessed of a considerable estate, both in land and houses. Many persons of distinction 
appear to have been members of this society, who all paid an annual sum towards the 
support of the institution and other charitable objects. There is a long and curious 
extract from a manuscript account, dated 1480 and 1481, given in Newton’s History 
of Maidstone, reciting the receipts and disbursements of the society. 

Their revenues at the suppression were valued at £40 Os. 8d., after which, the 
lands and buildings of Corpus Christ!, with their appurtenances, were purchased of 
the crown by the corporation of Maidstone, out of the profits of the plunder of certain 
vestments, plate, &c., belonging to the church, and converted to the use of a free 
grammar school. A portion of the hall of perpendicular character, with other old 
buildings, are still existing. 

Newton, quoting the supplement to the Monasticon, says that “ King Edward 
III., with his brother the Earl of Cornwall, founded at Maidstone a monastery of 
Franciscans or Grey Friars.” There are remains of an old house not far from the 
church and east of the college, still called the Priory or Friary, which may possibly 
be King Edward’s foundation; this building at the suppression was included in the 
possessions of the Priory at Leeds, founded by Robert and Adam de Crevequer for 
black canons regular of the order of St. Augustine. Such a foundation as Edward’s 
does not appear to have existed at the dissolution of religious houses, nor is there any 
record of the transference of its revenues. The house has been much modernized, 
and is now private property. 

In the 19 th year of the reign of Richard II., a.d. 1395, William de Courtney- 
obtained the King’s licence to convert the parish church of St. Mary, at Maidstone, 
into a collegiate church of one master or warden, and as many chaplains or other 
ministers as he should think fit j and to assign to them the advowson and patronage 


6 


HISTOEY AND ANTIQUITIES OF THE 


of this parish church and the chapels of Loose and Debtling, then held of the King 
“in capite,” to hold of the archbishop and his successors, in free, pure, and perpetual 
alms, as part of their maintenance for ever ; also to appropriate for the same purpose 
the hospital of St. Peter and St. Paul, founded by Archbishop Boniface, with all its 
appurtenances, and the advowson of the churches of Sutton, Lullingstone, and Farleigh ; 
with permission to unite and annex the hospital, and all the possessions of it, to the 
better maintenance of the master and chaplains, provided that the alms accustomed 
to be paid to the poor in the hospital should be continued. 

To the above appropriations Adam Mottrum, Archdeacon of Canterbury, gave his 
assent, and the college had subsequently granted to it by Richard II., the advowson 
of the church of Crundale, together with the reversion of Tremworth and Fannes, in 
the same parish, and King Henry IV., confirmed by “ inspeximus ” the grant of the 
above advowson and manors, and confirmed to the master and chaplains the right of 
purchasing lands and tenements of the yearly value of £40 so that the same were not 
held in “ capiteand the same king, in the 8th year of his reign, granted his licence to 
certain persons to convey the manor of Wightresham, with other lands and tenements 
in Maydestone, Loose, Boxele, and Hoo, to the use of the college, in fulfilment of the 
before mentioned permission. 

The advowson and patronage of this college and church continued part of the 
possession of the Archbishopric of Canterbury, till Cranmer, in the 29th vear of King 
Henry VHI., exchanged them for other premises. 

The buildings were erected on the bank of the river, to the south of the church, 
where the mansion given by William de Cornhill to Archbishop Langton was situated. 
As before remarked, Courtney seems in part to have made use of the existing build¬ 
ing for his new foundation, and to have added to it very considerably. The charter 
for the endowment of these works was obtained by Courtney, only one year before 
his death in 1396, and there is reason to suppose that the greater part of the works 
were erected previously to his obtaining it j the whole of his project does not appear to 
have been carried out at the time of his death, for by a clause in his will *, inserted 

* Excerpta ex Testamento Willielmi Courtney, Cant. Archiepiscopi. 

Volo quod corpus meum sepeliatur in Navi ecclesiae Cathedralis Exoniensis in loco ubi nunc iacent tres 
Decani seriatim coram summa cruce. Volo quod episcopus loci me sepeliat, nisi venerit Thomas Episcopus 
Eboracensis. Volo quod illi tres Decani qui remoti erunt ratione sepulturae meae, in aliquo alio loco honorifico 
Ecclesiae ejusdem sepeliantur raeis omnino sumptibus et expensis. Volo quod in sepultura mea sint septem 
torches, unus ad caput et alter ad pedes ardentes circa corpus meum et quod quilebit eorum sit ponderis xx/. 
Item, volo quod xl. Torticii eodem die illuminentur, &c. Duo ad usum altaris ubi Reverendissimi parentes 
mei sepeliantur et iv. torticii Ecles. paroch. S. Martini de Exmynster ubi natus fueram. Item, volo quod 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 




7 


below, he left the residue of his goods, after the payment of the before mentioned 
debts, legacies, and bequests, to the completion of this collegiate establishment. If 

duo millia matutinarum dicautur, &c. Lego Excellentissimo Domino meo Regi Ricardo optimam crucem 
meam et cl. ut sit post mortem meam specialis Doniinus mens sicut erat in vita speciallissimus Dominus 
meus. See. Rogo etiam eundem excellentissimum, metuendissimura ac confidentissimum Dominum meum 
regem pro amore Domini Jesu Christi et beatissimse Marim Virginia Matris suae, nee non sancti Johannis 
Baptistse, sanctarumque Marise Magdagene et Kathariuae, ac omnium sanctorum quatenus dignetur execu- 
toribus meis apponere manus adjutrices, ne successor meus miebi aut eis injurietur, aut pro reparationibus 
quicquam plus debito petat, babendo respectum in quo statu Ecclesiam et Maneria mea una cum castro meo 
de Saltwode inveni et qualitur subsequentur non obstante terras motu non sine gravibus et sumptuosis 
expensis sicut novit Prior mens. Pro meo posse et tempore reparavi prout Executores mei 
vestram celsitudinem informabunt, quibus aurem excellentiae vestrae inclinare dignemini amore illius qui 
nemini in sua indigentia claudit viscera pietatis. In justitia enim et aequitatae vestris confisus fiat voluntas 
vestra. Lego insuper et relinquo metuendissimae Majestati vestrae ipsius devotissimam servitricem atque 
oratricem carissimam et unicam sororem meam Daugayne supplicans humiliter et devote quatenus eandem in 
bac valle miseriae sub aliis excellentissimae protectionis vestrae custodire, fovere atque protegere dignemini, &c. 
Item, lego predictae sorori meae cc/., et modicum missale meum, See. Et altare meum de albo panno serico 
una cum tabula Domini mei de Islep. Et duos pannos sericos de popejays intext, ut inde faciat vestinienta 
ecclesiastica. Item, Portiforium meum, quod babui ex dono doniini mei Wynton. Episcopi. Et duos meliores 
cruentes argenteos deauratos et duos alios. Et xxiiii. discos meliores argenteos, sex garnatos sive cliargiones. 
XX. salsabilia et tria paria meliora coclerarea ; et duas pelves argenteas ; cum arrais de Courtney et cyplium 
aureum rotundum ad similitudinem pennarum factum, quern babui ex dono, Domini mei regis, &c. Item, 
lego domino Pbilippo fratri meo xl/. cum mcliori cypbo deaurato ac cooperculo et uno ewer. Lego sorori 
meae Dominae Annae de Courtney xx/. et unum cypbum deauratum, &c. Lego carissirao filio et alumpno 
meo Ricardo Courtney c. marcas, et optimam mitrem in casu quo fuerit Episcopus, Sec., et librum meum 
dictionavium in tribus voluminibus contentum, una cum kalendarii ejusdem in casu quo clericus esse velit et 
ad sacerdotium primoveri et milleloquium S. Augustini et pulcbrum librum meum qui Lira vocatur in duobus 
voluminibus contentum, se pro tempore vitae ejus, et volo quod post mortem ejus, praedicti Libri sanctae 
Ecclcsiae Cantuar. per modum legati remaneant, &c. Lego filiolo meo Wilbelmo Courtney, filio fratris mei 
Domini Pbilippi, c. marcas, Sec. Lego c. marcas distribuendas inter caeteros filios et filias fratris mei Domini 
Philippi. Lego Ecclesiae meae bletropolitanae capam cum perlis debraudatam ; et viride vestimentum meum 
aureum cum 7 capis ; et vestimentum album meum dcauro, cum 7 capis. Item lego ccl. et plus juxta 
discretionem executorum meorum et secundum informationem ministrandum per eos pro nova factura sive 
constructione unius panae claustri ab bostio palatii usque ad Ecclesiam se recto tramite extendentis. Lege 
priori! Ecclesiae meae Cantuar. cypbum meum argenteum sive bollam ; rogans quatenus in meam memoriani 
ipse, et successores sui utrantur eodem, Sec. Lego Hugoni Lutterel nepoti meo, Sec. (The legacies were 
either, money, plate, or vestments, too many to bo inserted.) Then follow, Lego Hugoni Stafford aliquid 
iuctadi scretionem executorum. (Then follow about a hundred more legacies.) Ordino et facio executores 
meos, Thomam Cbillenden, Priorem ecclesiae meae Cantuar., Magistrum Adam de Mottrum, Arcbidiacoiuim 
meum, Dominum Guidonem de Mono, Rectorem ecclesiae de Maydeston, Johannem Frenyngham Armigerum, 
D. Willielmum Raunton, rectorem ecclesiae de Harwe, Johannem Dodyngton, Rectorem eccle.siae de Crnkern, 
Magistrum Robertum Hallum Rectorem ecclesiae de Northfleet, D. Johannem Wotton, Rectorem eccle.si£e de 
Staplehurst. Reverendissimus pater languens in extremis (28 die Julii) in interior! camera manerii de 
hlavdestone. Voluit et ordinavit, quod quia non reputavit se dignum, ut dixit, in sua metropolitana aut 


8 


HISTORY AND ANTIQUITIES OF THE 


this bequest were acted upon, we may suppose that the Gatehouse, which was evi¬ 
dently built some years later than the other portion of the college, may have been 
finished in the lifetime of his successor. 

The Gatehouse is of very ample proportion, faced with ragstone ashler, and 
entered in the north front by a lofty archway, having a smaller one adjoining for the 
convenience of foot passengers; the opening on the opposite side is embraced by a 
single arch, beautifully moulded—the space between comprises a square of about 
nineteen feet, groined with dressed chalk stone and firestone ribs, springing from 
shafts in the angles ; on either side a low arched doorway conducts into a small room, 
of which there are two stories in the height of the gateway. Adjoining the door on the 
west side is a similar opening into a passage that conducts to a turret staircase and the 
range of buildings west of the gatehouse ; in the small room on this side of the gateway 
may be seen the plinth and string of the western range of buildings, cut through for the 
doorways that connect it with the Gatehouse, and other traces on the end wall, that lead 
us to conclude it to have originally been an external one, and consequently erected pre¬ 
viously to the gate itself. Over the gateway and rooms on either side, there is a large 
and lofty chamber forty-nine feet by twenty, approached by the turret staircase in the 
south-western angle of the Gatehouse. This room, the inside of which was never 
finished, has three two-light windows in each side with cinquefoiled heads ; those in 
the north front are transomed with similar tracerv in the lower liohts. There has 
been an ancient cbimney-piecc at the east end of this room, for which a stack is 
corbelled out in the external wall; the whole is surmounted by a cornice with 
grotesque heads, and an embattled parapet. The roof is modern and covered 
with tiles. 

The range of buildings on the west of the Gatehouse were probably the 
lodgings of the fellows ; it is two stories in height, terminated with a tower of three 
stories towards the river; the external walls on the north and west fronts, are faced 
externally with rough ragstone, each story lighted by a range of square headed win¬ 
dows, with cinquefoiled heads to the lights; we may suppose the lower story to have 
been used as a refectory, and that above (which has been divided into several cham- 

tiliqua catliedrali aut collegiata Ecclesia sepiliri, voluit et elegit sepultiirain suani in Cimeterio ecclesiae 
collegiatae de Maydeston in loco designato Joliauni Botelere, Armigero suo. Item voluit, quod deLita sua 
solventur, et quod legata sua scripta in testamento praescripto quoad familiares solventur, quoad extraneos 
lesatarios defalcarentur juxta discretionem executorum suoruni; quodque residuum bonorum siiorum remanens 
ultra debita et legata, expenderetur juxta dispositionem executorum suoruni circa constructionem, ecclesite 
collegiatfe de Maydeston, &c .—See Batteleys Somner" Ajpendix, No. XIII. c. 

» The cbalk spandrils have been scored nitli the tool, as if for the purpose of receiving plaister. 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


9 


bars) as dormitories ; on the south side of each story there existed an open corridor, 
filled with arch tracery after the manner of a cloister, into which the doors of the 
refectory and the chambers above open. 

This front appears even during the existence of the foundation to have under¬ 
gone some alteration, for an ancient fire place has existed, in the south wall of the 
refectory, the flue from which has been cut off at the upper floor, and the chimney 
breast probably removed when the corridors were constructed. Very good specimens 
of chimney pieces of a plain character are still remaining, both above and below. 
In the lower story of the tower, two deep cesspools of curious construction, with a 
large arched passage or drain leading tow'ards the river, four or five feet high, and paved 
wdth ragstone, were lately discovered in removing the hop-drying kilns, constructed 
when this portion of the collegiate establishment was converted into an oast-house. 

A small turret staircase in the south-east angle of the tower, conducts from the 
upper floor of this range of buildings, to a small room in the third story of the 
tower, and thence on to the roof; the little room has a very beautiful square-headed 
chimney piece, and a window in each of its four faces which command views of great 
beauty: from this tower, the buildings seem to have returned towards the south, but 
in this part have been taken down as far as the central portion (now a dwelling 
house) supposed to he the ancient house or castle of William de Cornhill, which 
exhibits traces of early English and decorated work, though now' much altered bv 
additions made about the Tudor period, and still more modern alterations; at the 
south-end there seems to have been a hall or some such large room, part of the original 
building, for one of the corbels, carved wdth mouldings of an early character, that 
supported the timbers of the ancient roof, still remains, concealed beneath the tiling 
of some low buildings. The w'est front overlooks the river, w ith a terrace throimhout 
its whole length, and a garden descending to the river w'all, in which the ancient 
water gate, (over which are carved the arms of the college,) still remains. Here the 
ancient buildings seem to have discontinued, and a few yards from the north end in 
a north east direction is a very picturesque gate-tow'er and turret, which perhaps 
conducted to another court; the archways are now built up, and the enclosed space 
used as a stable. A great deal has been lately done by the noble proprietor tow'ards 
the repair of these interesting buildings, and the renovations are all in the original 
style of the college. 

Mention is made by old writers of two churches in this town ; the one dedicated 
to St. Faith, and the other occupying the site of the present parish church. Kilburne® 
speaking of the former, calls it the ancient parish church, but this must be an error; 

* Survey of Kent, a.d. 1G59. 


C 


10 


HISTORY AND ANTIQUITIES OF THE 


for in the charter of Richard II., St. Mary’s is expressly named as the parish church, 
nor is there any record of this town ever having been divided into two parishes. 
By whom the church of St. Faith’s was founded, or at what time, I find no record; 
some portions of the ancient structure still remain, connected with a private house. 

Archbishop Courtney, when he contemplated founding his college, pulled down 
the old parish church, and rebuilt the present edifice on the same site, of which 
Newton, writing more than a century ago, when its state was far more perfect than at 
present, asserts, that “the structure for beauty, regularity, and workmanship, much 
exceeds its neighbouring cathedraladding, “ that it may in all respects he esteemed 
among the very best, and most noble and beautiful parish churches, perhaps, in the 
kingdom.” 

Successive local historians have repeated statements, on the authority of which 
the erection of the chancel only of this church is attributed to Archbishop Courtney. 
Newton, considering the small space of time that intervened between the date of King 
Richard’s charter and Courtney’s death, concludes “ that the body of the church is 
part of the old parish church of St. Mary’s, and that he only built the choir or great 
chancel, fitting the whole up for the use of his college, which he might well enough 
do in the time he lived, after that grant.” In this conjecture Hasted follows him. 

The accuracy of these surmises is confuted by the building itself, of which no 
architect would have any hesitation in attributing the complete re-edification to the 
same period. The form of this building presents none of those variations in arrange¬ 
ment that one finds in churches whose parts are of various dates, and where modifi¬ 
cations were required to meet the newly introduced customs of successive generations. 
Perhaps few single buildings possess more completeness and uniformity than this 
church exhibited in its original state : one general idea is prevalent throughout, wdth 
a correspondence of parts, proportions, and details, very uncommon in middle age 
structures j and which is interfered wdth only by such deviations from the original 
design as may reasonably be supposed to have occurred during the period of its erec¬ 
tion, from the difiiculties of construction, limited funds, or suggested improvements 
of a minor character. 

Although the charter before referred to, for the establishment and endowment of 
Courtney’s College, bears date the nineteenth year of the reign of Richard II., that 
is in 1395, and only one year before the death of Courtney himself, it would yet 
appear that the whole of the buildings were before that time completed or in a state 
of great forwardness,—at least so far advanced as to admit of the application of the 
church to religious purposes ; for it was certainly dedicated in his life-time. In all 
probability the buildings were in a state for use when the King’s licence was obtained. 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


11 


This church, in its plan and arrangements, is an excellent example of the prin¬ 
ciples by which the architects of the middle ages were governed in their designs. 
Though the same laws of symmetry that applied to classic architecture can by no 
means be applied to the pointed style; yet there was substituted for them a rule of 
no less universal application—I mean that regard to convenience or appositeness to 
its destination by which every structure of the middle ages is distinguished. Scarcely 
a building exists that has not some peculiarity of its own ; and it is these very irre¬ 
gularities that seem to embody the spirit of Gothic architecture. Picturesque and 
free as are the outlines of ancient buildings, it does not appear that the free-masons 
were ever actuated bv that horror of rcgularitv that seems to have seized some 
of their modern imitators, who, fearful of running into the sin of paganism, copy, 
without motive or object, peculiarities which, in the original adaptation, possessed 
both beauty and meaning. 

AVhen we find, in one church, the tower occupying a position at the extreme west 
of the nave, or in another instance standing north or south of it, a little observation 
will soon discover a reason, either in the usage of the district or the features of the 
locality. Rickman observes, on the situation of the towers of the Kentish churches, 
that they are in “ almost every possible position, except the east end of the chancel.”* 
The same remark may be applied to the beacon turrets so frequently attached to the 
towers in this district. No particular angle of the tower is assigned as the position 
of these turrets ; hut they wdll be found almost universally rising from or against that 
side of a tower that fronts the most frequented road, or a navigable stream, (in those 
days used little less as a highway than the land,) and usually placed at the most con¬ 
spicuous angle. 

Whatever may be said of the integrity and truthfulness of Gothic edifices, it is 
quite certain that the builders of the middle ages liked no better to w^aste their labour 
than architects of our own day. Ornament was not placed where it could not be seen 
to advantage; those portions of a building that were most exposed to observation 
w^ere universally the most enriched''; entrances were placed where they w'ere most 
commodious, and windows where the end of internal effect was best answered. For 
these reasons the tower of Maidstone Church stands where it does; and the north 
side, contrary to the more general practice, was more ornamented than the south, 
because facing the town and the Archbishop’s palace. The principal entrance to the 
church is also on this side, and the windows generally are more elaborate in design. 

® Offham Church, in Kent, has the tower on the north side of the chancel. 

b As one out of many examples, see Winchester Cathedral. The plain elevation is now laid open, the 
buildings existing at the time of the erection of the cathedral heing removed. 


HISTORY AND ANTIQUITIES OF THE 


\Q 


Though far from being so symmetrical as many other buildings in its plan, oi', 
irrespective of its position, so generally effective ; yet, in the site this church occupies, 
and with regard to the different roads by udiich it is ajiproached, it is strikingly 
appropriate. The churchyard is bounded on the west by the river Medway, above 
which the building itself is considerably elevated, standing on what is termed the 
cliff. Immediately above tbe churchyard the river and valley make a bend to the 
south-west, and at the corresponding angle of the church the tower has been placed, 
with its turret at the north-w'ost angle, forming in the view from this direction a 
noble perspective, the lines falling from the tower, as a central object, northwards 
along the unobstructed expanse of the west front, with its ample windows, and east¬ 
wards along the deeply projecting buttresses of the south aisle ; the picture embracing 
the college buildings on the south, and the residence of the Archbishop on the north 
of the sacred pile. 

The building, in its original state, must have presented a very different aspect 
from the present. Executed in ragstone, in the random work of the district, the 
buttresses strengthened with large ashler quoins, the mullions and tracery of the 
Avindows Avrought from Caen stone, the Avails of the clerestory and aisles surmounted 
by a battlemented parapet and roofed throughout its Avhole extent with lead and solid 
oak, and the tower surmounted by a lofty spire, this church presents a sad contrast— 
the present to the past. 

Throughout the wdiole extent of the nave and chancel, Avith their spacious aisles, 
there extends one expanse of lath and plaster ceiling, here diversified by a Avould-be 
Cothic cornice, there margined by a poor burlesque of groining. From the nave and 
chancel all vestiges of the ancient covering have disappeared to make room for a 
Queen-post roof, Avith stout ceiling joists and rafters of fir, constructed some time in 
the last century, Avhose eaves project over the clerestory AvundoAvs. A similar fate 
has befallen the aisles, Avhich are partly covered Avith slate. 

The old ceiling seems to have been flat, Avith moulded ribs and bosses, and pro¬ 
bably having its compartments decorated Avith colour and gilding; a mode of roofing 
very common in churches of this neighbourhood *. The chancel is of very ample 
proportions three bays in length, the easternmost division separated from the 
aisles on the north side by an oak screen, originally painted as restored on Plate 10, 
and on the south by the range of sedilia represented on Plate 5 . The east AvindoAv 
has six lights, and in the pavement immediately under it is bedded the original 
altar. It is a slab of Kentish rag, about seven feet in length, by three feet three 

“ Some of the bosses of the old roof are reported to be in the possession of a gentleman of this town, but 
I have not had an opportunity of examining them. 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


13 


inches wide, and in the centre and at either angle a cross pomrae is faintly marked, 
but so small as to be scarcely discernible. The stone is cracked, perhaps by violent 
displacement from its original position. 

The sedilia range has seats for four persons. The compartment next the east 
wall has apparently been intended for the reception of the consecrated elements. 
This, however, cannot be ascertained, as the space is filled by a tablet erected to the 
memory of Jacob Astley, Baron of Reading. The whole range has suffered much 
from this cause, the state of mutilation in which the sedilia are now found having 
been in chief part produced by fixing monuments therein. 

The whole space of the high chancel was probably divided from its aisles by a 
continuation of the screen shown on Plate 10. Of the roodscreen, only the lower 
portion is remaining, and this of a late date. Some difficulty occurs in accounting 
for the mode in whicdi access could have been obtained to the loft over this screen, 
inasmuch as the turret-staircase, from which it is usually entered, is, in this instance, 
removed one bay further to the west. 

At the west end of the chancel are arranged the seats shown on the plan, and of 
which a view is given in Plate 7- These are handsome, although not of an unusual 
style of execution, with the usual provision for turning up the seats, the under sides 
of which are enriched with various devices, in a good style of carving. The framing 
in front of these seats has been decorated in a similar manner to the screen on the 
north side of the chancel, the panels being alternately red and green. Under the 
easternmost seat on the north side, occurs the shield delineated on Plate 7> Fig* 8, 
the bearings of which are, as yet, to my knowledge, unappropriated. Under several 
of the others are the arms of Courtney, variously differenced by the mitre, crescent, 
or bezant, borne in threes, upon each point of the label. The first are the arms of 
Courtney, the others may be referred to some connexions of the Archbishop. The 
one shown on Plate 7> Fig* 7» is attributed to Richard de Courtney, his godson 
and nephew, afterwards Bishop of Norwich, and Chancellor of the University of 
Oxford. 

There is an entrance into the north aisle of the chancel, under the window, in 
the easternmost bay of the north wall. This door is now used to give access from 
the town, to which it is convenient; but it is exceedingly doubtful whether an 
entrance here formed part of the original plan, and there is every reason to attribute 
the present form of it to a late date. At the east end of this aisle is a three-light 
window, and the three bays on the north side are occupied by as many windows, two 
of which, to the west, are represented in Plate 3. Great similarity of style prevails 
in all the windows of this church, with the exception of the north-west window of 


11 


HISTORY AND ANTIQUITIES OF THE 


this aisle, though, as has been before observed, those on the north side are generally 
more omate, with a double row of panels in the tracery of the heads, while those on 
the south side are confined to a single row. Attention has of late been directed to 
peculiarities in the south-west or north-west windows of chancels, which appear, 
from changes in the ceremonies of the church, to have been subject to alteration, 
about the fifteenth century, and sometimes earlier. It is rather remarkable, that 
the north-west window of this aisle difiers widely, both in material and design, 
from all others in the building, though such difference can scarcely be attributed to 
the reason above stated, as the style is contemporaneous with the rest; and there 
are no traces of its havincy been inserted. It has five lights, with a head of verv 
beautiful tracery, all executed in sandstone, and now much dilapidated; the sill is 
somewhat lower, and the arch more pointed, than those of the other windows. The 
inner jambs and soffits of the window's of both this and the south chancel aisle are 
deeply recessed and hollowed, see Plate 4, Figs. 1 and 3, and the mouldings w'hich 
form the inside finish run dowTi nearly to the ground, stopping a string that runs 
beneath the window's, the wall at the pier being six inches thicker than at the 
interval under the window's. 

At the east end of this aisle is an ascent, by two steps, to what w^as probably the 
altar of the chantry, founded by Robert Vinter, of Vintners, in the adjoining parish 
of Boxley, about the fortieth year of Edw'ard the Third, a.d. 136G, and called 
Gould’s Chantry, from the name of one of two estates, called Goulds and Shepw'a;^, 
left for the support of it. This foundation w'as originally instituted in the former 
church, but provision appears to have been made for the maintenance of the services 
connected therew'ith in the new building. 

The south aisle of the chancel is entered by a dooiwvay of similar character to 
that on the north side, and probably made under similar circumstances. That a 
door hero formed part of the original plan, is, however, likely, from the analogy of 
other churches ; and the fact that the mouldings of the plinth are returned on one 
side of the opening. This door opens immediately in front of Wotton’s tomb, and 
in full view of the richly decorated canopies and painted walls that overhang and 
surround it. 

This appears to have been the site of the chantry founded by Arundel, Arch¬ 
bishop of Canterbury, a.d. 1406, by licence of King Henry the Fourth, dated at 
Westminster, the 4th of July, in the seventh year of his reign, granting to this pre¬ 
late to appropi iate the great tithes of Northfleet, in the diocese of Rochester, in his 
own advowson, for founding two chantries of three chaplains, viz.; one of two chap¬ 
lains at Christ Church, Canterbury, “ ac aliam Cantariam de uno Capellano ad 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


15 


Altare sancti Thome Martyris, in ecclesia collegiata de Maydestown divina3 singulis 
diebus pro salubri statu nostro ac ipsius Archiepiscopi dum viximus, et pro ani- 
niabus nostris cum abbac luce migraverimus, nec non pro animabus parentum et 
amicorum suorum et omnium fidelium defunctorum Celebraturis,” with a yearly 
stipend of ten marks, paid to the priest by the Archbishop of Canterbury. No 
traces of any stops or altar are however discoverable; but there exists in the south 
wall a niche, with the remains of a shelf and piscina, the bowl of which originally 
projected from the wall, and was supported on a shaft with moulded cap and base. 
Westward of the door-way is a stoup for holy water, shown on Plate 9, Fig* 19* In 
the easternmost bay, at the hack of the sedilia, is seen the canopied tomb shown on 
Plate 11, attributed to Wotton, first master of the College, who died in I f 17* On a 
slab of Bethersden marble was originally a very fine brass now gone, representing the 
master in the robes of a priest. This monument must have been prepared during 
the lifetime of Wotton, probably at the first erection of the church, for the upper 
surface of the slab supports the masonry that forms the back of the sedilia, and the 
stones of the canopies run quite through, from one side to the other. In front of 
the canopies on either side are the arms of Courtney and Arundel, and the painted 
subjects on the sides of the recess have reference to the dedication of the chantry, 
by Archbishop Arundel, in 140G. East of the recess is an opening through the 
screen, shown on the plan in Plate 6, through which a view of the high altar might 
formerly have been obtained, though, at the present level of the floor, the hagioscope 
is at too great an elevation for such a purpose. 

\"estiges of different colours have been traced in this portion of the church, and 
also on one of the piers of the high chancel, where the monogram I. H. S. in cynople 
formed a sort of diaper over the thin coat of plaster with which the stone-work seems 
to have been covered. ^About the centre of the south wall of this aisle is the doorway 
shewn on plate 9, Ag* 2, which admits to a vestry that occupies the whole of the 
middle bay. Over this vestry is a dark story or parvise, with an opening looking 
into the church; the upper portion, however, has undergone alterations that have 
destroyed the original appearance, the old windows having been stopped up and a 
modern roof substituted for the ancient one. Corresponding to the number of openings 
between the south aisle and the high chancel are divisions in the south wall, formed 
by wEat appear to have been intended as groining shafts. The shafts themselves 
are discontinued before they reach the level of the caps, leading to the conclusion 
that in this instance the builders departed from their original design, which was 
perhaps to have covered the whole building with a groined ceiling. This change in 
intention must have taken place after the external walls had been carried up to a 


16 


HISTORY AND ANTIQUITIES OF THE 


considerable height, but before any other of the interior had been erected than a 
portion of the piers between the nave and chancel. The mouldings of the piers 
between the south aisle and high chancel do not correspond with those of these shafts, 
nor do the piers stand over against them, but have their intervals contracted by the 
width of the abutments at the east and west ends, while the groining shafts have the 
length of the aisle divided equally between them. Some of the stones worked for these 
shafts appear to have been used in other parts of the work, and are still to be seen 
with the projecting part of the mouldings cut away, worked into the jamb of tbe 
east window of the north aisle, a position somewhat similar to that which they w^ould 
have occupied in their original destination. 

The nave, in all its general features, resembles the description already given of 
the chancel. The pulpit formerly stood against the second pier on the north side, 
counting from the chancel. The west window is an exact counterpart of the eastern ; 
and below it is a door, now disused, but doubtless originally intended for the grand 
entrance. The font is of rag stone, of quaint design, perhaps attributable to the 
reign of James I. On one of its faces are these arms, quarterly:—first and fourth, 
France; second, Scotland ; third, Ireland, with the supporters and motto now in use. 
The other faces display the arms of the town of Maidstone, those of the Astley famih’, 
and various other devices. It appears to stand in its original position. 

The clerestory is of simple character, lighted by six windows on each side in the 
nave and three in the chancel, exhibited respectively by figs. 23 and 24 on plate 9. 
d'he jaurabs rest internally upon a string course. The square windows of the nave 
have segmental arches in the inside, round which the jaumb moulding is continued. 
Tbe sills of these windows are now splayed down to the string, from tbe glass; but 
formerly, notwithstanding their elevated position, had a flat stone seat on a level with 
the string, and a high sill on the outside. The heads and mullions of these windows 
are worked out of difierent kinds of stone, and evince a somewhat hurried completion. 

The aisles are noticeable from their extreme width, which, thouf^h not the same 
in both cases, nearly equals that of the nave itself; and either, is more than double 
the breadth of those of the chancel; into which they open on each side by a remarkably 
light and graceful arch, whose proportion of height to width is nearly as three to one. 
The north aisle is six bays in length, with a four-light window in each bav, all of 
similar design : that in the second bay from the west is, however, contracted in 
height, to admit of a door being formed below it, which is now the principal entrance 
to the church. The arch is a low drop, struck from two centres, with bold jaumb 
mouldings, similar to those shewn on plate 9, fig'. 28. The beads are finished at 
bottom, with moulded bases, like those of the beads on the door, shewn in fig. 2 on 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


17 


the same plate. In the north wall is a small door, figs. 3 and 4, plate 9, conducting 
to the rood turret and staircase, which forms itself out of the second buttress from 
the east. There has been a small door, now plastered over, high up in the wall 
of the church, which opened from a landing of this staircase into the top of a 
screen that appears to have crossed the aisle here. It is conjectured that the 
eastern portion of this aisle may have been the site of a chapel dedicated to 
Saint Mary, the patroness of the former church. Between the two buttresses in 
the north-west angle are the remains of a canopied niche that probably contained a 
statue of the virgin ; and the ancient dedication of the Church to St. Mary appears 
to have been popularly retained even as late as the reign of Henry VIII. In the 
deed of exchange made between Cranmer and that prince it is called the Church of 
our Lady at Maidstone. 

The south aisle, in its general arrangement, resembles the northern one. 
There also appears to have been a chapel or chantry at the east end of this aisle 
corresponding to that on the north side. A shaft and piscina, resembling that 
in the south chancel aisle, mav still be seen in the north wall, but much mutilated. 
Some fragments of the shaft that supported the projecting bowl were used to block up 
the recess: enough, however, remains for a restoration of the original design. 

Against the wall of the second bay from the west stands the tower, which 
encroaches on the space allotted to the hays immediately east and west of it, reducing 
the windows to small two-light ones, of elegant though not uncommon pattern. 
There is no tower arch; and that feature is seldom found associated with a flank 
tower; but a large doorway opposite to the northern entrance opens into the tower 
porch and forms the principal entrance on the south side. This porch was formerly 
groined; but, from accident or design, nothing now remains except the angle shafts, 
each a single column, and the clustered springers that rise from them. The existing 
ceiling is timber framed, with mouldings of an Elizabethan character: a section of 
one of the beams is given in plate 9, fig- 21. The mouldings of the outer arch 
of tower porch are worthy of notice from their simplicity and depth of shadow. (Fig. 22.) 

The tower, seventy-eight feet in height, is externally very plain, with square¬ 
headed two-light windows in the belfry, and an embattled parapet. The buttresses 
are carried up to within a foot or two of the cornice, and give rather a stumpy effect 
to the tower: this, however, would not be the case were the spire existing. This was 
of wood, covered with lead, nearly eighty feet in height, and was destroyed by light¬ 
ning in 1730 . The turret has been already described. The tower contains a peal 
of ten bells, a clock and chimes. 

This church formerly contained some fine brasses, of which only one now remains, 

D 


18 


HISTORY AND ANTIQUITIES OF THE 


of the latter part of the sixteenth century, on a tablet in the south side, against the 
pier of chancel arch. On the brass of Wotton’s tomb was this inscription*;—“ Hie 
jacet Dominus Johannes Wotton, Rector Ecclesie Parochialis de Stapilhurst, Canonicus 
Cicestrensis, et primus magister hujus Collegii, qui ohiit ultimo die Octobris 1417-” 

In the centre of the chancel, inlaid in a slab of Bethersden marble, was a superb 
brass of Courtney, the founder of the church and college, who was buried here, 
according to his will, in the tomb prepared for his esquire, John Botteler. This 
prelate was the fourth son of Hugh Courtney, Earl of Devonshire, by Margaret, his 
wife, daughter of Humphry de Bohun, Earl of Hei’eford. Perhaps no man who ever 
held the see of Canterbury could boast a more illustrious descent: on his father’s 
side he was descended from a family that enjoyed all the honours of the highest 
nobility of England, and that contracted in the French branch of it an immediate 
alliance with royalty, and had given counts to the Christian state of Edessa, and 
seated three emperors on the throne of the east; on the female side he inherited the 
blood of the Plantagenets, Elizabeth, daughter of Edward L, (grandmother of the 
Archbishop,) having taken as her second husband Humphery de Bohun, Earl of 
Hereford. 

William Courtney was educated at Oxford ^ and was first promoted to be pre¬ 
bend in the churches of Wells, Exeter, and York, after which, by the Pope’s bull of 
provision, he was, in 1369, promoted to the bishopric of Hereford; from the above 
see he was translated to that of London in 1375, and from thence to this Arch¬ 
bishopric, when being Archbishop elect, he appeared as Lord Chancellor, and was 
confirmed as such in parliament in November 9, anno 5 Richard II. He received 
his pall with great solemnity in his hall at Croydon Palace. He was a high and 
liberal minded prelate ; just in the government of the church, vigilant in the defence of 
its jurisdiction, and statesman-like in his policy; jealous of his high position in the 
church and state, he sometimes punished with severity those who treated his office 
with contempt, and ventured to compare the splendour of his house, and number and 
influence of his connexion, with John of Lancaster. Besides his works at Maidstone, 
he was a liberal benefactor to other institutions of his diocese and the property of the 
see, and especially to his own church of Canterbury. He died at his palace at Maid¬ 
stone, in July 1396 , having occupied the Metropolitan chair nearly fifteen years. As 
will be seen in the Archbishop’s will, (see ante, p. 6, note), the place of burial ap¬ 
pointed by him was the cathedral church of Exeter, but whilst lying on his death 
bed, by a codicil, he directed the interment of his body in this church. For a long 


“ Newton. 


Hasted. 


COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


19 


time it was supposed lie had been interred at Canterbury ; a monument to his me¬ 
mory existing there, in the Trinity Chapel, having his effigy, in pontifical dress, 
lying at full length upon it; Weever, however, distinctly mentions the slab in Maid¬ 
stone Church as covering the place of his burial, and here his body was found a few 
years ago, upon examination for that object. The brass on his tomb had the follow¬ 
ing inscription, preserved by Weever : 

“ Nomine Willelmus en Courtnaius reverendus, 

Qui se post obitum legaverat hie tumulandum. 

In presenti loco quem jam fundarat ab imo ; 

Omnibus et sanctis litulo sacravit honoris; 

Ultima lux Julii fit vite terminus illi, 

IM ter c quinto decies nonoque sub anno, 
llespice mortalis quis quondam, sed raodo talis, 

Quantus et iste fuit dum membra calentia gessit. 

Hie primus ])atium, Cleri Dux et genus altum, 

Corpore valde decens, sensus et acumine clarans. 

Filius hie comilis generosi Devoniensis, 

Legum Doctor erat Celebris quem fama serenat, 

Urbs Herdfordensis, polis inclita Londoniensis, 

Ac Dorobernensis, sibi trine gloria sedis, 

Detur honor fit Cancellarius ergo. 

Sanctus ubique pater, prudens fuit ipse minister, 

Nam largus, letus, castns, pius atque pudicus. 

Magnanimus, justus, et egenis totus amicus. 

Et quia Rex Christi pastor bonus extitit iste, 

Sumat solamen nunc tecum quesumus. Amen.” 

Against the south chancel pier is a mural monument to Humphrey Tufton, Esq. 
son of Sir Humphrey Tufton, of the Mote, brother of the first Earl of Thanet. 

In the chancel are several monuments of the Astley family, one of which has the 
following curious inscription, quaintly spelt; 

“ To never dying memory of that 
Great Souldier and Person of Honor, 

Lord Jacob Asteley, Baron 
Of Reading. 

EPITAPH. 

Let th’ Island Voyage (in y® Van) speak forth 
Thy youthfull valour; thy all daring worth : 

Next Neweport Battel, where thou didst pfer. 

Honour to life : there made an officer ; 


D 2 


20 


HISTORY AND ANTIQUITIES OF THE 


By famous Orange (thy great Geuerall) 

Under whose sword (y* day) Spayn’s force did fall: 
AVhat clouds of nations, could I rayse for thee 
And each one, would a glorious wilnesse bee 
As Holland, Denmarke, and vast Germany 
All greive thy losse, honour thy memory. 

England (thy mother) crown’d thy hoary hea'* 

With major generall: Here in honours bedd. 

Thou (now) doth rest: and w^** more honour the" 
These times afford unto a noble man : 

Faith, valour, conduct; all in souldier should 
Or could be wish’t for : this tomb doth infoF.” 

A". D“. 1653. 

Obiit 27 die FebruariJ, 1651. 


In the latter end of the reign of Edward the Sixth, an order was given to take 
an account of the goods and ornaments formerly belonging to this collegiate church, 
an inventory is given by Newton, extracted from papers that existed in the Town-hall 
of Maidstone. 


“ An Inventorie brought in the fourteenth day of November, Anno RIU. E. VB®. before 
the King’s Majesties Commissioners, according to theire commandement to us dyrected of all 
goods, plate, jewels, bells, and ornaments remaining or did remayne in the parishe church of 
Maydstone sith the first year of the reigne of the King’s Majestie, that now is. King Edwarde 
the sixte.” 


Churchwardens. 


By us Rich aide Awger, Curate; 

Nicholas Asten 
Richarde Nelson 
John Goseling 

“ The inventorie of the church goods of Maydstone, taken by the inhabytants of the same, 
the seconde day of Septembre, A®. RR®. Edwardi Sexti secundo.” 


After a long account of Copes and other rich vestments and ornaments, for the 
priests and altars, this article concludes thus: 

s. d. 

“ Itm. in latten » candelstycks, and other lycke stuff of latten which cometh 
to the wayte of ccc save x lb. ....... 

To this is next added another account with this title: 


liiii iiii 


“ Remayning in the hands and custodye of William Collet these things next ensuing.” 


® Iron tinned over. 



COLLEGIATE CHURCH OF ALL SAINTS, MAIDSTONE. 


21 


Many of these particulars are of the same kind with the former, and the whole 
ends thus : 

“ Ilm. in the steeple five bells, and one lyttle bell called the monow-inas bell.” 

After this is another account hearino- this title: 

o 

“ Certayne of the churche plate of Maydslon, received of William Collet, sextayne; by the 
church-wardens, and the inhabitants of the same, the xviith daye of Septembre, A°. 1548. 

lb. onces. 

Fyrst, the great pycks of silvar and gilt, weyeng 
Itm. ii basones of sylver and gylt, weyeng together . 

Itm. twoo sensers of sylver and gylt, weyeng . 

Itm. one crosse of sylver and gylt, weyeng 
Itm. the lesser pycks gylt, weyeng ..... 

Itm. one payre of sylvar candlestycks, weyeng 
Itm. one shype of sylvar, with a lyttel spone, weyeng 
Itm. two lyttyl paxes of sylvar, weyeng .... 

Itm. one lyttel bell of sylvar, weyeng .... 

Itm. two lyttyl payre of cruatts, and one senser ryng of sylvar 
Itm. one chalyce gylt, weyeng .... 

Itm. one other challesse, gylt, weyeng 
Itm. one chalyse pcell, gylt ..... 

Itm. one other challyse, gylt ..... 

Itm. one pomsed challise dooble-gylt, weyeng . 

Itm. iii pypes and 11 knobs of sylvar 


VI V 

vii ii 
iii iii 

V i 
i ii 

V xi 
i XV 
o xiii 
o viii 
o xiii 
i 


1 

i 

i 

i 

iii 


qt. lb. 
vii 
iii 

i dwU 


IX 


“ All this abovesaid was delyvered by hesayd Wyllm Collet unto the churchewardens and 
otherof the sayd enhabytants in the presence of Wyllm Crew^cQ\\?,ia}o\.e,NicholasMello, Thomas 
Edmonds, Alexander Fysher, James Barrett, John Smyth, Thomas Baker, John Lylly, William 
Kemp, and Rydrock, the wryter thereof. 

“ Certayne of the sayd churche plate having the Founder’s Arms, which remayneth in the 
hands and custodye of the same Wyllm Collet. 

lb. onces. 

Fyrst one crosse, with a fote, beyeng gylted, weyeng .... viii iii 
Itm. two great candlestycks of sylvar, gylt, weyenge . . . . ix v 

Itm. the payre of great sensers of sylvar and gylt, weyeng . . . vi vii 

Itm. one great paxe, gylt.ii v 

Itm. ii cruatts of sylvar and gylt, weyeng.o xiii 

“ And also remaineth in the hands and custodye of the sayd Wylliam Collet of the sayd 
churche plate the crismetory of silver and ii challyses. 

“ Of all whiche goodes, plate, jewels, bells and ornaments aforesayde, certayne of them were 
sold to the use and purchaseing of the corporation of the towne and parishe of All Saints, of 
Maydston aforesaid, the Brethered Haule, the Fraternitie and Landes of Corpus Christi, and 








22 HISTORY, ETC., OF ALL SAINTS CHURCH, MAIDSTONE. 

of Sainct Faith’s clnivche and churcheyarde, witli all and singular their appurtenances, to the 
value and sum of cc lb. 

“ The more parte of the residue of the saide goods, plate, jewels, bells, and ornaments were 
delyvered into the hands and custodye of Wilhn Collet, as by the inventorie aforesaide thereof 
made more playnle, doth appear; and the sayde Wyllm Collet delyvered part of the saide 
goodes, plate, jewells and ornaments unto James Barret, Willm Tilden, Thomas Goare, and to 
other as he saith, he will more playnlye declare for his dischardge before yow the Kinges Ma¬ 
jesties commissioners. 

“ Also there remaineth in the custodie of Thomas Haggard and James Catlett for a certayne 
])ece of lynen called a vayle, and other things xx.s-. xc?. 

“ Also there was stolen out of the saide churche of Maydston by night in the vth year of 
the King’s Majesties reigne that now is, off the goodes, plate, jewels, and omaments aforesaid, 
one cope and other thinges, which the aforesaide Wyllm Collet can more playnl 3 'e declare.” 

What has hecome of the rest of these valuables is not recorded, as the church now 
possesses none of them. 

The only arms connected with the architecture of the building that now exist are 
as under;— 

The arms of the see of Canterbury. 

Those of Christ Church, Canterbury,—azure on a cross argent, the letter C., sur¬ 
mounted by the letter I., sable. • 

The arms of the College of Maidstone,—azure, S bars or. 

Archbishop Courtney: or, three torteaux, on a label of three points azure, 3 
mitres. 

Archbishop Arundel,—quarterly, 1st and 4th, gules, a lion rampant, 2nd and 
3rd, chequy azure and or. 

Courtney differenced by three bezants on each point of the label and also by 3 cres¬ 
cents on ditto. 

Also a fess engrailed between 3 beech leaves. 

To whom these arms belong, I know not, but there is a shield displaying similar 
bearings on the font of Sevenoaks Church, which has also in another part the arms of 
the see of Canterbury, impaling Courtney. There is no stained glass remaining, hut 
vestiges of painting appear upon different parts of the walls, and on the plaster under 
the east wdndow is a cross within a circle, rudely drawm in red and black. Many of 
the wrought stones have on them the marks of the masons who worked them ; the same 
marks recur among others in various parts of the building, which may be received as 
evidence of its having been completely re-erected and finished by the same hands. 


L.of C. 


DESCRIPTION OF PLATES. 


Plate I. The general plan of the church. 

Plate II. A geometrical elevation of the east end, showing the mode of build¬ 
ing with ragstone that prevailed from the middle of the fourteenth century. The 
stones are arranged in random courses, averaging from a foot to sixteen inches in 
depth. This kind of masonry prevails in most of the Kentish churches built sub¬ 
sequently to the decorated period j before that time rubble work was in general use. 

The raking parapet above the cornice is modern, and shows the common header 
work. The side buttresses are terminated in rather a remarkable manner, with 
hipped weatherings, the upper stone of which mitres into the coping of the parapet. 

The square-headed perforations in the gable were probably intended to admit air 
to the timbers of the roof. 

As will be seen from the line of the cornice, the ancient roof was of a lower pitch 
than the present one, the cornice formerly returned on the north and south sides, 
and was surmounted by a parapet, now removed. 

Plate III. Elevation of part of the north side of the chancel, exhibiting, towards 
the west, the only window in the church that differs in character from the rest. 

Plate IV. Fig. 1 shows sections of the mullions, jaumb, and label of the window 
marked b on the elevation (see Plate III). Fig. 2 is a section of the inner and 
outer sill. Fig. 3, plan and elevation of part of the window marked a, on the same 
Plate. Fig. 4 is a section of the sill, and Fig. 6 a section of the label. Fig. 5 is a 
profile of the plinth wFich is continued all round the building. 

Plate V. Elevation of sedilia on the south side of the chancel; there were four 
seats, the niche on the east containing a piscina, &c. 

All the compartments were originally intended to have been surmounted by 
canopies similar to the three shown on the drawing; those on the sides, how'ever, 
were never completed, but, instead thereof, two wooden ones, of wretched detail and 
workmanship, have been at some time set up. Although showing what would be 
the effect of the whole range, if completed, it was not thought advisable to introduce 
them in the Plate. The whole of this composition, with the tomb at the back, is 



24 


DESCRIPTION OF PLATES. 


an admirable instance of the constructive skill of the middle age architects. The 
supports, as will be seen from the plan and section, (Plate VI.,) are attenuated to an 
extreme degree, and the mortar possesses little or no cementing property, yet the 
work remains unshaken, and beautifully balanced. The whole is executed in fire¬ 
stone, and has been plugged and cramped together. The material is one well 
adapted to works of this description, where carved decoration, and a multitude of 
small parts, render sharpness and nicety of execution desirable. As a w'orking 
material, it is, however, inferior to Caen stone, and very perishable when used 
externally. 

Plate VI. Plan and section of tomb, with a plan of one of the canopies taken 
at A. The groining of the recess over the tomb has been coloured, the ribs red and 
gold, pow’dered with small black flow^ers; the spandrils were blue, the corbels and 
bosses red and gold. On the plan is sbowui the opening or hagioscope, referred to 
in the description of the church. 

Plate VII. Fig. 1. Sketch of the stalls in the chancel. There are no traces 
of any colouring in any part, except the framing in front. This has, at some later 
period, been painted over, in imitation of oak. Figs. 2 and 3, specimens of the 
carvings from the under sides of seats in the stalls; these were centre ornaments. 
Figs. 4, 5, and 6, side enrichments under seats; Figs. 7 ai^d 8, shields from ditto; 
Fig. 9, sketch of the under-side of one of the seats, showing the arrangement of 
the carvings ; the remainder are details of these stalls. 

Plate VIII. Figures 1 and 6, bosses from the groining of tomb; Figs. 2, 4, 
5, 7, 8, and 9, from the groining of the sedilia; Fig. 3, a boss, still remaining 
against one of the walls of the tow^er porch, from the groining with which it w^as 
anciently furnished ; Fig. 10, a specimen of strawherry-leaf enrichment from Wotton’s 
tomb; the flat part of the leaf is gilded, with red edges; Figs. 11 and 12, corbels 
from Wotton’s tomb. 

Plate IX. Fig. 1. Elevation of a doorw'ay in a boundary wall of the church¬ 
yard, opposite to the western entrance. This door probably gave access to the 
church from the palace; Fig. 27 is the jamh moulding of the same doorway; Figs. 

2 and 28 are the vestry door and jamh; Figs. 3 and 4, door into rood turret and 
jamb ; Fig. 5, jamb of great chancel arch ; Figs. 6 and 7, arch mouldings ; Fig. 8, 
section of groining shafts; Figs. 9 and 10, cap and base of pier-shafts; Fig. 11, 
external cornice of rood turret. The flat hollow shown by this profile w'as universally 
adopted when the member was much elevated above the eye, and becomes more open 
as the altitude/rom the ground increases; Figs. 12, 13, 14, 15, 16, 17 , and 18, 
details of sedilia and tomb ; 19 and 20, stoup and piscina. The howl of the piscina 


DESCRIPTION OF PLATES. 


‘25 


originally projected beyond the face of the wall, and was probably supported on a 
small shaft, similar to that mentioned in the description of the piscina lately dis¬ 
covered in the south aisle. Fig. 21, section of one of the beams of the present 
ceiling of tower porch ; Fig. 22, jamb of outer archway of tower; the dotted lines 
thereon express the moulding of the arch ; Figs. 23 and 21, clerestory window and 
jamb from the nave; Figs. 25 and 26, ditto, from the chancel. 

Plate X. Elevation of the oak-screen on the north side of chancel, with the 
original colouring restored. Sufficient remains to identify the decoration of every 
part. The stars in the hollow of the canopy were cast in lead and gilded; at the 
side is a section, showinej the construction of the screen. 

Plate XI. Elevation of VVotton’s tomb in the south aisle of the chancel, with 
the original colouring restored. The painting, though much effaced, can be made 
out without any doubt. 

Plate XII. Painting on tbe back of the recess of Wotton’s tomb. The subject 
may he considered to refer to the presentation of Wotton to the Virgin, or perhaps 
to the foundation of this chantry by Archbishop Arundel. The figures are intended 
to represent the Mother of God, to whom a suppliant, in the attire of a priest, is 
presented by an angel; behind the V^irgin stands St. Catharine, and in the opposite 
corner is another female figure. 

The painting is executed on a thin coat of plaster, and has been wantonly 
mutilated. Tbe legends on tbe labels are too much effaced to be decipherable. 

Plate XIII. Portrait of an archbishop, painted at the east end of the recess, 
conjectured to be intended for Archbishop Chicheley, though it might, with much 
greater probability, be assigned to Arundel. Over against this subject, at the west 
end of the recess, is the representation of a bishop ; the figures are nearly the size of 
life. At the side of this Plate, in Figs. 2 and 3, are given the arms of Courtney 
and Arundel, severally impaled with the see of Canterbury. Fig. 1, the arms of the 
college, founded hy Courtney, at Maidstone; Fig. 4, arms of Christ Church, Can- 
terburv. These, which are taken from the canopies over Wotton’s tomb, arc again 
repeated on the sedilia at the other side. All these shields have been repainted in a 
barbarous manner, but the original colours can be made out. The arms of the 
college are found again, carved on a stone over the water-gate of that building. 


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OBSERVATIONS 


ON THE 

POLYCHROMATIC DECORATION OF THE MIDDLE AGES. 

By JOHN WHICHCORD, JuN., Architect, 

ASSOCIATE OF THE ROYAL INSTITUTE OP BRITISH ARCHITECTS. 


But a few years have elapsed since the theories by which Polychromy was first 
announced to the world were regarded by the great majority of persons interested in 
the arts with doubt or apprehension. It was any thing but an agreeable association 
to the admirers of classic genius, to be told that the exquisite finish of Grecian 
chiseling was concealed beneath a coat of “ villanous ochre,” or that the sculptor and 
architect selected the most costly materials only to daub them with colour, or cover 
them with stucco *, and they resolutely refused to believe that Grecian taste could 
approve so much coarseness and exaggeration, “ or that Ictinus and Callimachus, 
to say nothing of Phidias or Praxiteles, practised these atrocities.” 

It was difficult for them to suppose that the same nation which displayed such 
exquisite skill in architecture and sculpture was guilty of a “ barbarous ” taste in 
painting, nor could they reconcile themselves to a custom so foreign to all their pre¬ 
conceived ideas of art. 

Yet within these few years so great a change has been wrought in public opinion 
that suggestions bold in that day seem timid in ours. The advocates of Polychromy 
have never been led astray by an extravagant imagination; inferences were dravni 
only from the facts that every succeeding day brought to light j and research, pro¬ 
secuted simultaneously in different countries and among the monuments of widely 
varying ages and people, has led to results unanticipated by the first propounders of 
the new doctrine, and, what is of more object to a practical age, as substantial as they 
are new. 


B 



2 


POLYCHROMATIC DECORATION OF 


The architect or antiquary is no longer content with ascertaining the date of a 
building, and describing it by the combination of its parts, the form of its mouldings, 
and the character of its plastic decorations ; but in the unnoticed teints that time and 
change yet permit to remain upon its walls and ornaments, he reads a language long 
silent and unknown, but now eloquent with beautiful meaning and glorious con¬ 
ceptions : 

“ Sit thematis gemina, ac viva expressio juxta, 

Textum antiquorum, propriis cum tempore formis." 

Before the discovery of this practice there was much in “ classic ” architecture 
that seemed ineffective or incomprehensible ; very much that when copied in our 
public edifices only served to disgust the public and blind them to the merits of the 
style ; yet although we were familiar not only with the existence, but also acknow¬ 
ledged the beauties of Polychromy as applied to the tombs and temples of India and 
Egypt; although some such usage seemed connected with the sacred architecture of 
all nations ; and although with every style that has flourished among any people, 
Polychromy was born and grew together with it, forming as it were the very soul of 
the material fabric, yet, with strange perversity, we refused to reason from the 
analogy, or apply to those forms of architecture that were received among ourselves 
the same conclusions that were obvious as regards the rest. 

It is only now that we can present to the mind all the glories of Grecian art, or 
realize the picture of an ancient temple, perfect in the simplicity of its conception, 
grand in the combination of its parts, bold in its continuous lines and unbroken 
shadows, and harmonious in its brilliant and contrasting colours. 

“ Pulchra gradu summo, grapliidos stabilita vetustse, 

Nobilibus signis, sunt grandia dissita pura 
Tersa velut minime confusa labore ligata 
Partibus ex magnis paucisque efficta, colorum 
Corporibus distincta feris, sed semper amicis." 

We acknowledge the very highest grade of art in the Chrysolophantine statues, 
that ranked among the ancients themselves as the finest productions of the sculptor; 
and a consummate judgment in that application of colour, that at once displayed in 
their sculpture a forcible representation of the actual, and impressed them the more 
powerfully with the characteristics of the ideal. 

In all the arts that minister to society ; in the varied hues that meet us at every 
turn amid the ruins of Pompeii; in the brilliant paintings that adorn the walls of 
each apartment; in the profusion of ornament that was lavished on the build¬ 
ings dedicated to pleasure; in the costly elegance that marked those devoted to 


THE MIDDLE AGES. 


3 


the service of religion ; in the means of luxury brought within the reach of the 
humblest; and in the graceful piety that consecrated the choicest offerings to the 
gods,—we recognise the joyous character of ancient civilization, and the universal and 
systematic appreciation of art. 

It was as though through Polychromy the ancients gave expression to the brighter 
and more ethereal impulses of the mind ; Polychromy was the link connecting the forms 
of matter with the airy fancies in which classic genius was so rife ; it clothed the 
massive outlines of Egyptian architecture with a life and grace only subordinate to that 
deep soul of thought that lives in every stone and lurks in every figure : while the eye of 
the artist is no less delighted with the exquisite management of colour that can unite the 
heavy masses of its architecture with the burning soil and sliadowless sky of that glowing- 
clime. Nor would there be any thing inconsistent in associating similar ideas with our 
national architecture, adding to the solemnity of our ecclesiastical edifices a winning 
beauty that should be ever present in the temples of a religion, that allures as much as 
it commands to the observance of its duties and the participations of its hopes. 

Decorative painting has again assumed its place among the fine arts; every new 
fragment that turns up only adds to the mass of evidence that has convinced those 
who refused to believe in Grecian Polychromy, and every instance of church restora¬ 
tion proves to those admirers of pointed architecture, who were equally zealous in 
their detestation of whitewash and love of native stone, that even in the palmy days 
before the Reformation, walls and stone-work were not only whited or yellow washed, 
but that the surface of the walls, and even the very shrines and tombs, were diversified 
with positive and contrasting colours. 

Public favour has been gained for Polychromy by that most powerful of all argu¬ 
ments, an appeal to public sympathy; and the practice of it, at first regarded as an 
experiment, is rapidly spreading as a fashion. 

In the preceding paragraphs we have spoken of Polychromy generally, both be¬ 
cause in either branch of it there exist the same paucity of written information, and 
an equal profusion and correspondence of existing illustrations. The principles of 
Polychromy are recorded only on those works of art it was used to embellish, but 
throughout all these there is observable a striking analogy. 

While every age and country has possessed its own distinctive, mode of building, 
characterized by a spirit embodied under widely differing and incompatible forms, 
the appliances of colour fall under one law, and the same combinations that impart 
elegance and harmony to the exquisite contours and open surfaces of Grecian art, are 
also capable of producing an equally pleasing effect when found in the shadowed pro¬ 
jections and intricate shapes of pointed architecture. The art of Polychromy, or 

B 2 


4 - 


POLYCHROMATIC DECORATION OF 


practice of painting in positive colours, either on flat surfaces or sculptured forms, 
has been referred for its origin to other than lesthetic motives ; certain existing coin¬ 
cidences in the application of colour, have led to the inference, that teints when ap- 
plied to sacred subjects acquired a peculiar expression; hence the theory of symbolism 
of colours. Of the few facts on which this system is based there can be no dispute; 
but it is very questionable whether any such principles were kept in view in later 
ages, and under the more perfect forms of the decorative art; and highly improbable 
that the same symbols could otherwise, than by the most casual accident, be express¬ 
ive of similar ideas at diflerent times, and under religious systems capable of being 
referred to no common origin. 

The object of Polychromy is to heighten the effect of architectural decorations, 
either by causing a more just subordination of the various parts than can be obtained 
by mere chiaro-scuro, or in supplying deficiencies that could not be so well filled up 
by any other means. 

When the details of enrichment are minute or greatly removed from the eye, the 
use of strongly contrasting colours is necessary to mark the various details and sub¬ 
divisions which would otherwise be lost; or to connect more elaborate wdth plainer 
portions of the same work. It is often also used to attract the eye to the more im¬ 
portant portions of a building; and the beautiful effect of the brilliant lines, gilded 
prominences, and rich surfaces, harmoniously toned with diaper, is known to every 
admirer of medieval architecture. 

It is probable that in the practice of classic antiquity the ornamented colouring 
on walls and ceilings, and perhaps in general even the detail of the arabesques, was 
left to the skill and fancy of the workmen. The style of execution in such instances 
as remain to us, exhibits great facility of production, accompanied by characteristics 
that distinguished them in a marked manner from the w'ork of an artist. Yet in most 
cases there exists a certain concordance of parts and unity of effect, that uneducated 
taste would be unable to attain. Perhaps we should be correct in viewing the various 
specimens as diversified reproductions of a few types in fashion at the time, with 
which the workmen w ould necessarily be familiar, and capable of applying without 
further assistance than the general direction of the superior artist by wdiom the 
higher class of subjects were executed. 

The same observations may be understood in a limited sense of Gothic Poly¬ 
chromy. The scientifie architects of the middle ages appear to have employed not 
only the hand but the genius of the craftsman, in the diversified modes of ornament 
that so peculiarly distinguish Gothic architecture. In the structure, furniture, and 
enrichments of a great church, we see the aggregate of varying taste and genius. Its 


THE MIDDLE AGES. 


5 


decorative paintings, its heraldries, its stained glass, its metal work, and even the 
different carvings, exhibit, each in its own department, and in some cases almost in 
every article, the impress of a distinct mind; yet all bent to one harmonious result 
by the influence of their subject and the fashion of the time. 

At the revival of the arts, decorative painting, both pictorial, and as consisting in 
the application of positive colour to objects whose projections and outlines were pre¬ 
viously defined by the carver, was found universally subsisting throughout Europe. 
It does not appear, however, that Polychromy and figure painting were any where 
cultivated as distinct branches of the art. While Polychromic decorations required 
for their execution an artisan of superior skill, the general treatment of pictorial 
representations, the colours employed, the mode of their application, and the very 
intimate relation found to exist in works of both branches, induce us to believe them 
to be the w^ork of craftsmen of the same class, and, where found in juxtaposition, of the 
same hand. 

Every degree of merit is found in the works of the middle ages, from the bad 
copyist of an imperfect school, to the most refined taste in decoration, and intense 
feeling and truthfulness, if not easy treatment, in pictorial representations. 

In point of fact, decorative painting was naturally subject to the same influence of 
the same external cause that affected art generally, and in the fourteenth and fifteenth 
centuries had evolved for itself a style essentially distinct both from the classic and 
revived manner. In Italy the style thus formed not only appears from the first to 
have had a looser hold, hut was earlier abandoned for a style in imitation of the an¬ 
tique ; all the productions of that country subsequent to the revival are conceived in a 
distinct spirit, and executed in a manner rapidly deviating from the practice of Northern 
Europe; decorative painting in the hands of the Italian school gradually ceased to 
be Polychromy, and assumed a form subject to all the laws of pictorial composition. 

It would be a matter of great difficulty to reduce the practice of Polychromatic 
decoration to any precise rules: observation, and comparison of remaining examples, 
will, however, be sufficient for the architect to understand the spirit, and will serve 
alike as a guide for the restoration of old, or the designing for new works. 

In Gothic Polychromy, as in Gothic architecture, notwithstanding the fertility 
of detail that prevailed, there will be found, during the epoch of any particular style, 
a vast number of instances in which the ancient architects have imitated themselves ; 
continual repetition of the same idea will frequently be observable in particular dis¬ 
tricts, or, if differing at all, only in the degree that circumstances or individual taste 
may have modified the original standard. The skill of the designers was exhibited 
in the reproduction of certain set forms, and in suiting them to particular localities 


6 


POLYCHROMATIC DECORATION OF 


or requirements, rather than the thirst for novelties which characterize the present 
day ; copies of a few ceilings, strings, shafts, and canopies, with their mouldings and 
enrichments, and a few examples of diaper, would form an alphabet of Polychromy, 
which would supply all the knowledge of ancient colour an antiquarian could 
require. 

In churches of almost the earliest date traces of colour may be found, generally 
applied in a very rude manner, and frequently consisting of nothing more than yellow 
wash, and red or black bands. This observation holds true of almost all the 
decorative painting that is supposed to have been executed during the prevalence of 
the Saxon and Norman styles. Where any pattern has been attempted, it may be 
immediately recognised by the resemblance it bears to the sculptured enrichments of 
the period. In the north transept of Winchester Cathedral, there exists a singular 
relic of early painting. The arches of early Norman date have their massive 
masonry concealed beneath a coat of plaster, which retains indications of colour. 
On the side of one of the arches that face eastwards, are a series of radiating lines 
drawn to represent the arch stones, in a hlood-red colour, in each of which are inter¬ 
secting bands, forming a kind of cross saltire, which bands are dotted with spots of 
a deeper red. The opposite side of the arch is ornamented with a different design, 
but of the same colour; and a scroll pattern is also existing running round parallel 
to the arch. A nearer approach to the manner of a later age, is shown in Bishop 
Gundulph’s work, in the nave of Rochester Cathedral, where the sculptured enrich¬ 
ments that fill the spandril spaces between the double arches of the Triforia, and the 
large single arch within which they are embraced, are picked out in different colours. 
In some of these cases the enrichments resemble the flattened tooth ornament, with 
which the walls of Westminster Abbey are covered. The whole of the Norman 
work in Rochester Cathedral has been covered with colour. The stones of the shafts 
and arches were painted alternately red, green, and yellow, the whole face of the 
stone being filled by the same colour, not distinguishing the mouldings. In the 
south transept, the date of which is early in the thirteenth century, a similar system 
has been adopted, where the stones, and not the mouldings, are distinguished. The 
labels only are treated as distinct features. The tier of windows at the south end 
have each stone of the labels marked in a contrasting colour to those of the arches. 
Thus, if an arch stone be green, that portion of the label in contact with it will be 
red or yellow, and vice versa. During the former part of what is commonly called the 
early English period, that is from 1189 to 1216, decorative painting made but little 
progress; and the extant specimens exhibit a similar mode to that formerly in use. 
Colours were used in masses, without distinction of detail. A screen of about this 


THE MIDDLE AGES. 


7 


date, against the north and south walls of the Lady Chapel, at Winchester, has the 
centre columns of its tripled shafts painted alternately red and black, the columns on 
either side of the centre being painted in the contrasting colour. In this case, the 
colour on the columns extends to the adjacent hollow, without any other relief than 
a double band of black encircling those columns that are red, at about every foot in 
height. When painting was only partially introduced, as was the case in simple 
works, such as churches in rural districts, red was the favourite teint used in the 
capitals and bases of the columns ‘; and often appearing as a margin to the internal 
window jamb, if the jamb was without mouldings, of the breadth of two or three 
inches, sometimes with a narrow black line running beside it on its outer edge ^ 

Few traces of colouring of much greater interest will be found prior to the acces¬ 
sion of Henry III. The paintings in churches of an early character were often 
executed at a later period; and this may generally he suspected when the decorations 
are of an elaborate kind, and when no letters or costumes are represented to determine 
the precise date; such decorations as we have alluded to, with a few figures on the 
plaster of the chancel walls, under the east window and on the chancel arch, painted 
in red or black outline, a few sentences, and a ruder cross or two, are all that the art 
of the former part of the thirteenth century appears to have been capable of pro¬ 
ducing. 

Henry the Third was an active patron of the arts, and found time amidst all the 
troubles of his reign to commemorate his taste in works of architecture, sculpture, 
and painting. The foreign artists whom he employed possessed a juster acquaint¬ 
ance with the principles of art, a more refined taste, and greater practical skill, than 
can be seen in any previous wmrk of our country. From this date, for several reigns, 
foreigners were employed in the application of art, and from the encouragement given 
to the exercise of their talents, a noble emulation seems to have been excited among 
our native artists; and, together with the history of sculpture, may be traced two 
separate styles, both essentially distinct in their character, neither imitating the other, 
and both displaying the very highest qualities of beauty. 

The practice of adorning the walls of buildings, hitherto confined principally to 
sacred edifices, was now employed to the embellishment of rooms and galleries. 
The following curious orders relating to the art of decoration have been preserved 
by Mr. Walpole, from the collection of Mr. George Virtue’s MSS. 

» Two foliated capitals, of early English w'orkmanship, supposed to be part of a former church, were 
recently discovered at West Wickham Church, Kent, built up in a part of the wall erected in the fourteenth 
century. They were covered entirely with red ochre. 

A similar mode of decorating window jambs prevailed to a very late date. 


8 


POLYCHROMATIC DECORATION OF 


“ 1228.—Ao. 12 Hen. III. m. f. Rex. thes. et earner, suis salutem, Libertate 
cuidam pictori 20^. ad cameram inagni saccarii depingendam. 

“ 1233.—Libertate. Ao. 17 Hen. HI. m. b. Mandatum est Vicecomiti South- 
ton : quod cameram regis lambruscatam (wainscoted from the French lambris) de 
castro Winton : depingi faciat eisdem historiis et picturis quibus fuerat prius depicta. 
Et custum et computabitur. Teste rege apud Kideministr. iii. die Junii.” 

These orders clearly demonstrate that pictorial embellishment was in use at this 
period ; in the first one, “ cuidam pictor” may be translated as referring to a common 
house painter, but when we consider that it was not customary to hide the surface 
of wainscot except with decorative painting, and the amount to be paid for it twenty 
shillings, (a very large sum at that date,) the inference would be, that it was an order 
for Polychromatic decoration; but the latter one proves the fact, and a great deal 
more, not only that pictorial subjects were in use, but of prior antiquity; the direc¬ 
tions are that it is to be painted with the same pictures and histories with which it 

had been adorned before. 

✓ 

In close connexion with historical and imaginative subjects, and forming with 
them part of the same design, we find a more developed mode of decorative colouring 
applied both to heighten the effect of sculptured forms, and in the shape of arabesques 
and diapers, diversifying plain surfaces. 

A free and bold style in arabesque prevailed from the time of Henry HI., until 
the close of the reign of Edward III. Bright and lively colours were applied in 
masses, the grounds covered with compositions of foliage and birds, animals and 
human figures ; sometimes in one teint, sometimes in varied colours. The most beau- 
ful design in use was a pattern of vine leaves, frequently drawn with remarkable 
freedom and elegance, in which the leaves, the tendrils, and the fruit are represented 
in red and green teints, with various coloured birds nestling among the leaves ; this 
is found repeated in groinings of this date; beautiful instances exist at Rochester 
Cathedral, in the groining of the Crypt, and in a piece of wall painting in St. Wil¬ 
liam’s chapel in the same Cathedral, and under the canopy of the monument of 
Aveline, Countess of Lancaster, in the choir of Westminster Abbey. Various figures 
and devices are found incorporated with foliage, in designs of this description ; at some 
times free and in composition with the foliage ; at other times displaying, within 
coloured medallions, the faces of men and angels, full length figures and emblems. 
The groined ceiling of Adam de Orlton’s chantry in Winchester Cathedral, exhibits 
on a straw-coloured ground among green foliage, with fiowers, green and blue me¬ 
dallions, in which are painted the heads of angels surrounded by a nimbus: the 


THE MIDDLE AGES. 


9 


groining ribs have their mouldings marked in various colours, and a running enrich¬ 
ment in a chevron pattern is painted in red and black on the centre moulding; 
the coloured mouldings of this date are often powdered with rosettes, or similar 
ornaments in red, black, or gold ; and it was not unfrequent to cover with a sculptured 
diaper even those mouldings that were intended to be painted. 

Even at this period, however, when the tout ensemble of Gothic edifices was 
perhaps more gorgeously magnificent than at any other time, the antiquarian will 
perceive a want of that nicety that distinguishes the wmrk of a succeeding age. To 
the fifteenth century may be ascribed the perfection of a system of Polychromatic 
decoration, which, if wanting somewhat in the striking and original character of 
earlier work, exhibits art acting under the influence of settled laws with greater 
certainty of effect, a vast improvement in technical skill, and more elaborate variety 
in the designs 

o 

We have as yet no modern restoration that exhibits the full effect of coloured 
decoration as applied in the fifteenth century. It often happened that throughout 
the whole interior of a church the materials were no where discernible ; the walls 
were painted over with historical subjects, arabesques, or inscriptions ; the ceiling 
one mass of colour and gilding; the floor paved throughout with encaustic tiles; every 
window filled with stained glass ; the strings, the cornices, with their enrichments ; 
and the capitals of the columns, brought out in red, green, and gold; the very form 
of the mouldings more cleaidy marked by their enrichments; and all the teints that 
were diffused throughout the building concentrated in greater intensity and delicacy 
on the screens and monuments, only to be surpassed in gorgeousness by the precious 
ornaments of the altar, rich in drapery, gold, and jewels. 

At no time, however, does it appear to have been considered indispensable that 
the whole, or any particular part, of a building should be coloured; in fact, as we 
have before observed, the symbolism of colours, if ever acknowledged, had been for¬ 
gotten, and the use of decoration in a building was regulated by no other law than 
the simple canons of taste, the caprice of the artist, or the munificence of a founder ; 
a striking instance of this may be observed in Maidstone church, where the canopied 
sedilia on the south side of the chancel have never received any other painted 
decoration than the shields on front of each canopy, although the adjacent walls were 

» The difference in tlie modes of painting that prevailed during the decorated and perpendicular periods, 
shews itself particularly in the forms of the diapers, which, at the later date, are more set, with a frequent 
use of geometrical patterns and greater minuteness in the colouring. 

■= In Rochester Cathedral, even so far hack as in the work of the thirteenth century, the Petworth marble 
columns have been entirely hid with colour. 

C 


10 


POLYCHROMATIC DECORATION OF 


covered with diaper, and the oak screen on tlie opposite side exhibited the most 
cflowino- teints*. 

c?* O 

A very curious document is referred to in the Minutes of the Royal Antiquarian 
Society, under the year 17^6 :— 

“ Memorandum.—That Master Cummings hath delivered, the fourth day of July, 
in the year of our Lord 1470, to Mr. Nicholas Bettes, Vicar of RatclifFe, Moses 
Couteryn, Philip Bartholomew, and John Brown, procurators of Ratcliffe beforesaid, 
a new sepulchre, well gilt, and cover thereto; an image of God Almighty rysing out 
of the same sepulchre, with all the ordinance that longeth thereto; that is to say: 

“ A lath made of timber, and ironwork thereto. 

“ Item. Thereto longeth Heven, made of timber and stained cloth. 

“ Item. Hell, made of timber and iron work, with devils, the number thirteen. 

“ Item. Four knights armed, keeping the sepulchre with their weapons in their 
hands, that is to say, two spears, two axes, two paves, (a large buckler,) and well 
painted. 

“ Item. The Fadre, the crown and visage, the bell with a cross upon it, well gilt 
with fine gold. 

“ Item. Four pair of angels’ wings, for four angels, made of timber and well 
])ainted. 

“ Item. The Holy Ghost coming out of Heven into the sepulchre. 

“ Item. Longeth to the angels, four chevelers (perukes).” 

Two methods of enrichment appear to have been used ; in one of which colour 
was sparingly applied, the fair stone of the groinings, wrought in many an intricate 
])attern, or the mellow teint of the oak-boarded ceilings, is merely heightened in effect, 
by gilded bosses on a vermilion ground, the various mouldings picked out in colour, 
and the walls adorned with monograms, or black and red letter sentences; but in 
the more common practice of the day, it was usual, where decorative painting was 
introduced, to cover completely with colour, and to the total concealment of the 
material, those portions of a building that were thus adorned. 'When the roofs were 
of wood their ribs were usually picked out in various colours, plain or relieved, and 
in early work the same member was often painted in alternate colours, the corbels 
on which they rested were sometimes, if moulded, decorated as the ribs themselves ; if 
carved in foliage, they were gilded; and if in forms of animal life, bearing shields, 
they were illuminated in various colours, and the escutcheon charged with the heraldic 

» Not even the ichole of a monument was always coloured. No portion of the architecture of Prior Rahere’s 
tomb, in St. Bartholomew’s Church, Smithfield, retains any traces of colour, though the recumbent effigv of the 
first Prior, with the kneeling figures, are represented in the usual habits of the order. 


THE MIDDLE AGES. 


1 I 

devices of the founders. The bosses at the intersection of the ribs, when they are 
not charged with arms, gilded, and commonly on a red ground. The panels of the 
ceiling w^ere generally blue, variegated with gilt estoiles, or sometimes having one 
large radiating star painted therein filling the whole compartment*. In late work 
the boarding is sometimes without ribs, painted in imitation of clouds; in the case 
of groined ceilings the ribs and bosses follow the same rule, but the spandrils are 
frequently diapered. 

Wall surfaces were generally of a blue or red teint; blue when forming a ground 
for pictorial compositions, and more commonly red, when unbroken; large surfaces 
of any colour were invariably diapered, and generally in a deeper shade of the same 
colour, but the diapering is sometimes omitted when figures are introduced'’; all en¬ 
riched work was painted in contrasting colours, the surfaces red or greenwith blue 
introduced for relief in hollows, where the object sought was to give depth. Small 
column shafts or beads were often painted in a spiral curve, or barber’s pole fashion, 
white and black, white and red, red and black, or red and blue; small fillets were 
often wdiite, and all bosses, crockets, finials, and prominent edges, gilt; and the 
whole powdered over wdth star like flowers or sprigs, gold or black if on a red 
ground, and generally gold over all other colours'*; the octagonal bases of shafts 
often had their alternate faces painted of different colours, and the various cap and 
base mouldings picked out and gilded. Strings usually had their plain surfaces and 
hollows red or green, the bead often gilt, but the concave parts of cornices, when en¬ 
riched, were often blue'; the favourite arrangement seems to have been red, green. 

The soffit of the canopy over Richard II.’s tomb, in the Confessor’s chapel in Westminster Abbey, 
exhibits a gold ground diapered with quatrefoils, &c., each compartment charged with a pictoiial subject. 
In that at the east end w'ere depicted two angels, supporting a shield bearing the arms of Richard II. and his 
wife, Anne of Bohemia. The two succeeding compartments are embellished with scriptural representations, 
and the fourth is similar to the first. All the figures, though now' much faded, have been painted in bright 
colours; the ribs between the several compartments are red and gold, and diapered. 

So attached were the middle age artists to the use of diaper, that even w’orks in metal, especially effigies, 
are engraved all over in similar forms to those used on coloured surfaces. Nothing exhibits their abhorrence 
of unbroken teints more forcibly than the minute delicacy of their w'orks in mosaic and enamel. 

<= Upon the monuments on the north side of the choir of Westminster Abbey a sort of bistre colour is 
made use of, as a counterchange for red, in the panels round the tomb, in the cornices, and in the series of 
quatrefoils for the display of arms on Valence and Crouchback’s monuments. On Lord Bourchiere’s monument, 
beneath the screen of St. Paul’s chapel, green appears in corresponding situations. 

On King Sebert’s monument the faces of the pyramidal canopies are more plainly coloured, and the 
faces of the intervening pinnacles have their pilaster faces gilt, relieved by green in the panels. 

« The very fine effect produced by the use of very few colours may be judged by the screen in Edward 
the Confessor’s chapel. The faces here have a red ground, the soffits blue; and over these universal teints 
the "ilded lace-work of the tracery must have shewn to great advantage. 

c 


POLYCHROMATIC DECORATION OF 


V2 


and gold ; but when the series of mouldings, requiring to he distinguished by alternate 
colours, were deep, it was often customary to give greater variety, by using different 
shades of the same colours, and which were often placed adjacent to each other. The 
same means was resorted to, when the very limited number of positive colours, occa¬ 
sionally in the intricacy of Gothic tracery, brought the faces of two members having 
the same colour into contact with each other. 

Diapers were of several kinds ; that most commonly met with extends itself over 
large surfaces in a running pattern, often executed in a deeper shade of the ground 
colour*; a second form, perhaps better understood by the word powdering, scatters 
over the ground a profusion of small sprigs or flowers, generally black or gold; the 
diaper of a wall sometimes consists of nothing more than the founder’s initials, the 
monogram I. H, C., or like devices”, in red, geometrically arranged upon an un- 
coloured ground, that is, a ground which has no other colour than the pi-evailing teint 
of the building 

The plain faces of buttresses and pinnacles, and small running bands, are often 
ornamented with a pattern in twm colours ; sometimes simple and extending itself over 
the whole surface, or, if that be very much prolonged, repeated throughout its length. 
The prevailing teint for this ornament is wdiite and black, or white with the pre¬ 
vailing ground. It seems to have been the aim of the Gothic artists to avoid as 
much as possible creating spaces of a single colour; for the smallest mouldings are 
generally powdered with red, black, or gold sprigs. 

The use of diaper is to supply the place of middle teints, the introduction of wdiich 
destroys the brilliancy and interferes with the keeping of Polychromatic painting. A 
mass of colour, of whatever w'eight or prominence, may be enriched, and at the same 
time toned to almost any limit, by a judicious use of diaper. 

A great deal of the beauty and freshness of the ancient mode of painting is 
referable to the pigments that they made use of, and the way in which they w^ere 
mixed and applied. The eolours used in Polychromy were few and simple, but of a 

® There is a variety of this kind of diaper that may perhaps, with more propriety, he termed arabesque. 
Such is shewn in the groined canopy over the tomb of Aveline, Countess of Lancaster: here we see an 
entwining pattern of vine loaves and fruit; tlie fruit and sprigs red, and the leaves green. The gi'ound shews 
a straw colour, perhaps originally gilded. 

^ The forms of diapered enrichment are as varied as the fancy of the artist, and not always beautiful. 
Greater variety than can be found on architectural members are met with in many of the painted effigies, and 
of great beauty. 

' A carved diaper, generally of paterae, was sometimes used to decorate an unpainted wall. This prevails 
with beautiful effect at Westminster Abbey. A similar object was answered by the wall paneling of 
Henry VII.’s time, which will seldom be found painted. 


THE MIDDLE AGES. 


13 


substantial and permanent character: the ochres, red lead and vermilion, azure or 
cobalt, two or three shades of green, (all variously prepared from verdigrise,) with 
black and white, comprises nearly the whole of their chromatic scale. 

In pictorial compositions a wider range was allowed, and compound and neutral 
teints will frequently be met with. 

As far as can be ascertained, very similar menstrua were used to liquefy the pig¬ 
ments employed, both in the classic and middle ages. Painting on plaster was prac¬ 
tised at both periods; but it is exceedingly doubtful whether fresco*, properly so 
called, was used to any extent in Europe prior to its recorded introduction in Italy. 

Wax, wdth the volatile oils, and resin, appear to have been the general media; 
and perhaps the paintings executed in wax may so far be called encaustic, as that 
term applies to bringing out the wax by means of heat after the painting is done*’. 
A very considerable portion of the remains of medieval colouring appear to have been 
executed with turpentine and resin, more particularly those that exhibit, after the 
lapse of ages, much of their ancient brilliancy, and adhere with tolerable tenacity to 
the surface painted on. Wax dissolved in gum water may also have been employed, 
as gum was much used for a similar purpose® in the middle ages. Ancient paintings 
executed wdth honey and wax possess a high degree of durability *, and this method 
was much in favour among the Grecian artists ; but its use in the middle ages is only 
conjectural. 

Many discussions have taken place as to the date of the use of oil in wall painting, 
many people contending that it was not known until introduced in the fifteenth 
century by John ab Eyck ; but it is evident that this opinion is incorrect, and that it 
was known as early as 1239, as the order below testifies. But it does not appear to 
have been generally used until the fifteenth century : it might have been considered 
an experiment, which the medieval artists were cautious of trying, knowing by 
experience the completeness of their old system. The order is dated in the 2.3rd 
of Henry III. 

“ Ilex thesaurio et camerariis suis salutem. Libertate de thesauro nostro odoni 
aurifabro et Edwardo filio suo, centum et septemdecem solidos, et decern denarios pro 
oleo, vernici, et coloribus emptis, et picturis factis in camera reginae nostrse apud 

^ Fresco is the art of painting in size colour, upon a fresh plaster ground. The name is derived from 
the Italians, who call it dipengere in fresco, in contradistinction to the dipengere in secco “ Merrimee.” 

In the south aisle of the choir at Westminster, the walls of the recess known as King Sebert’s monu¬ 
ment appear to have been painted in wax. 

® Illuminating MSS. 


14 - 


POLYCHROMATIC DECORATION OF 


AV'estm. ab octavis SanctsB Trinitatis anno regni nostri xxiii. usque acl festum sancti 
Barnabaj apostoli eodem anno scilicet per xv. dies.” 

In the fifteenth century, however, oil seems to have predominated*, and about 
this time came into general estimation among artists. Although scarcely capable of 
the same fixity of teints as the older compositions, oil has been found to possess many 
qualities that render it superior in handling, combining more readily with the various 
pigments and flowing freely. The modes of preparing oil for colouring, however, 
appear to have been different to those now in use; few ancient specimens will be 
found that have received more than a single coat of paint; whereas, on the modern 
system, the work must be painted over several times before an even surface or an 
equal intensity of teint can be produced. These repeated coats are destructive of all 
nicety and finish. 

When any extent of wall surface was proposed to be painted, it was usual to cover 
the stone work with a thin coat of plaster or whiting, for the purpose of concealing 
the joints and affording a better groundThe ground thus gained was, in works of 
importance, very carefully prepared with size, of thin glue or of gum-arabic dissolved 
in water, with the addition of a little dry white lead or sheep-skin size, to prevent the 
too great absorption of colour‘d. For gilding, sizes similar to those now or lately 
in use were adopted, and laid as a second coat over the previous ground. The gilding 
of middle-age works will generally be found to have been performed in a superior 
manner, and to have stood well. 

In appearance these paintings most nearly resemble flatted work varnished; the 
colours have in general more force than is usually attained bv modern oil—glossy, yet 
free from glaze, and possessing considerable body. They are not absorbed bv wood 

a There are instances of the use of oil in the late part of the fourteenth century; and most of the monu¬ 
ments in the choir of Westminster Abbey are painted entirely in oil. In those cases, however, where it is 
possible to ascertain the original teints, they appear inferior in brilliancj', and certainly in surface, to the other 
work of the same date. Oil also was used for the pictorial decoration of St. Stephen’s Chapel, Westminster, 
of which we read that Hugh de St. Albans and John Cotton were employed as principal painters, on wages 
of one shilling per day. (See Britton’s Architectural Antiquities.) 

No Variation appears to have been made in this practice, even when oil was intended to he used. The 
oil paintings on what is termed King Sehert’s monument, in Westminster Abbey, mav be mentioned as 
executed on a thin coat of plaster, although both the assigned antiquity of these subjects and the probability 
of their being the production of a native artist may be doubted. 

<= Merimee gives various recipes, of a more modern date, for the preparing of grounds for wall paintiiw. 
He appears to recommend saturating the cement that forms the ceruse with drying oil and u ax (in preference 
to boiled oil). 


THE MIDDLE AGES. 


15 


or stone, nor do they adhere very tenaciously. Though easily separable from the 
ground, they are not liable to crack. 

Distemper paintings are very common, and do not differ materially from the 
appearance of such work in the present day. In buildings of small importance, simple 
earths dissolved in water were often the only colouring media applied, and continued 
to be used in our village churches down to a very recent date*. 

It will be observed, in the course of these investigations, that decorative painting is 
in no case applied with the object of concealing inferior materials or workmanship; the 
most elaborate care has been bestowed on the details which are painted, perhaps to a 
greater degree than in other parts of the same building which may not be ornamented 
with colour. The materials are oak and the finest stone, such as we should expect 
to find in the richest part of an important building. Yet, in modern structures, it 
seems by no means incumbent on us, in such cases, to make use of the costly materials 
our ancestors employed: without departing from the spirit of antiquity, the architect 
may adopt, for works intended to be painted, any substantial material capable of 
being readilv wrought or moulded. We ought to bear in mind that the colouring of 
ancient carved work was very frequently an afterthought, and sometimes distinctly of 
a later date than the work itself; and, in addition to this explanation, we may take 
into consideration the circumstance that our predecessors, in the selection of their 
materials, chose such as were familiar to them, leaving us a hint to do the same by 
such as are commonly employed among ourselves, and reserve the more costly kinds 
to situations that display their peculiar qualities. 

An examination of the colouring of ancient edifices will lead to the following 
conclusions ;— 

1st. That differences exist in point of style and materials in the works of distinct 
periods. 

•^ndly. That these distinctions exhibit themselves in a marked manner, at periods 
corresponding to our usually received architectural chronology. 

3rdly. That the decorative art attained its greatest perfection subsequently to the 
middle of the fifteenth century, following in its development the advances of archi¬ 
tectural taste. 

» The only recipe for this description of painting I have been able to find is the following:—“ Quia auteni 
nietuebant ne muri scissurus diffinderentur, bine eosdem linteo, prius glutine mediante, indnxerunt, desuperque, 
applicito gypso, postmodo deinuin picturas suas effigurarunt, qui modus dici solet, alia tempera, id est tem- 
peraturffi aquarim. Hanc autem temperaturam ita preparabant effracto prius ovo gallinaceo, in ejusdem liqnore 
frondem teneram ficulneam de ficu juniorc discutiebant: ubi e lacte istius frondis, eque vitello ilia nascebatnr 
temperatura: qua mediante postmodum loco aquae vel gummi, vel tragacantbae, colores sues subigebant, quibus 
dehinc opera sna perficerent.” (Sandrart, Academ. Pictur., p. 15, a.d. 1G48.) 











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